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Number 5 of Fluyo Records arrives with The Headmaster, a project conceived in the early 90s from an attempt to “master my own head” and express feelings through sound. The music is mainly instrumental and beat-driven, focusing on emotion and atmosphere rather than vocals, though the right vocal sample can sometimes enhance a track , like B2 - Eternity ¨

Growing up around the Melbourne electronic music scene inspired me to have a go at making music myself. The Melbourne rave scene of the 90s eventually sealed my fate, leading me to perform live, DJ, and release tracks on various Australian and European labels.

2026 Repress

Chicago deep house pioneer Merwyn “Merle” Sanders needs no introduction to true heads.As one half of the legendary Virgo Four (alongside Eric Lewis) and under a slew of aliases, Merwyn helped shape the sound of late ’80s deep and acid house. Their records, now considered foundational, continue to echo across dancefloors and DJ sets worldwide.In the late ’90s, after years of trying to release more material through Trax Records, Merwyn took matters into his own hands. He self-produced his first 12” under the Merle alias — a record that sadly flew under the radar at the time, with most copies eventually destroyed. But one track survived and thrived: “Fannie Likes 2 Dance.” What started as a quiet release became an underground classic, highly sought after by DJs and collectors alike.

Now, Still Music and Jerome Derradji proudly present the full reissue of this cult favorite — featuring the two original mixes along with a never-before-heard unreleased remix by Merle himself.

This special edition comes housed in a full sleeve, complete with a detailed backstory written by Jerome Derradji about the track’s origins and legacy. A true slice of Chicago house history, back where it belongs — on wax.

FOLLOWING THE SUCCESS OF “THE OTHER HELL”, GOBLIN ARE BACK FOR RECORD STORE DAY 2026 WITH AN EXCLUSIVE COMPILATION OF SINGLES RELEASED BETWEEN 1975 AND 1979!

For the very first time on vinyl, this compilation gathers together all the singles released by Goblin during their golden era between 1975 and 1979, a journey that begins with the explosive, legendary debut Profondo Rosso, a true chart phenomenon of its time, and reaches the rare Amo Non Amo, passing through unforgettable milestones of Italian film music and progressive rock.

The collection opens with Profondo Rosso and Death Dies, taken from the soundtrack of Dario Argento’s masterpiece that catapulted Goblin to fame, blending dark atmospheres, virtuosity, and a unique sense of cinematic tension. It continues with Roller and Snip Snap, drawn from the instrumental album Roller (1976), a record not tied to any film, yet considered a cult cornerstone of Italian progressive music for its intricate structures and expressive power.

Chi? and Chi? - Parte Seconda follow; two tracks originally composed as the theme for a 1976 RAI television show, which saw Goblin bring their unmistakable sound to a different medium, experimenting within a shorter, punchier format.

Next comes Suspiria with its haunting counterpart Blind Concert, from the soundtrack of Argento’s 1977 horror classic. This remains one of Goblin’s most iconic and unsettling works, where music becomes an active narrative force: hypnotic, percussive, and filled with eerie vocal layers that made it a cornerstone of horror soundtracks worldwide.

From Il Fantastico Viaggio del Bagarozzo Mark (1978) come Un Ragazzo d’Argento and Opera Magnifica, two tracks that highlight the band’s more conceptual and visionary side, a move away from cinema toward a self-contained narrative and progressive experimentation.

The single Yell stands as another late-decade gem. Originally composed as the opening theme for the RAI television series “Sette storie per non dormire” (1978), it captures Goblin’s ability to merge rock energy with electronic pulse, proving their versatility far beyond the horror realm.

The compilation closes with Amo Non Amo and Funky Top, taken from the soundtrack of the 1979 film Amo Non Amo, one of the group’s lesser-known but fascinating cinematic works.

Far more than a simple anthology, The Singles Collection 1975–1979 maps the evolution of Goblin’s sound, from the worldwide success of Profondo Rosso to their most mature and experimental phase. It finally restores to vinyl a body of work that had long been scattered across rare 45 rpm releases, offering fans and collectors a complete, vivid portrait of one of Italy’s most inventive and influential musical ensembles.

Black Salt is the second album from Kiiōtō (Mercury Music Prize nominated singer/songwriter Lou Rhodes, former lead vocalist and co-founder of Lamb and award-winning songwriter and pianist Rohan Heath). Their debut album, As Dust We Rise, was released in 2024 to critical acclaim.


Stylistically Black Salt leans further into Jazz, broken beat and soul textures than the debut,with references as diverse as Carole King, Khruangbin and Alice Coltrane. The resulting album is impossible to define by genre, but is fused by the unique interplay of Heath's melodic sensibilities and Rhodes inimitable voice.

Written primarily in Kiiōtō's home studio in North London, Black Salt features guest appearances from a melting pot of musicians, notably guitarist Hawi Gondwe (Amy Winehouse), double-bassist Andy Hamill (4 Hero, Carleen Anderson), drummer Mykey Wilson (Corrine Bailey Rae), and even some impromptu guitar by the one and only David Arnold.


BLACK SALT is out April 2026.

The recordings on Volume II were captured in Copenhagen, Denmark on January 18, 2020. Guided as much by human instinct as by musical intention, the ensemble moved through the evening with a shared sensitivity…listening, responding, and trusting the moment as it unfolded. Though Morten McCoy admits to having felt quite ill that evening, nothing in the music suggests restraint. Instead, what remains is a vivid, playful exchange, where McCoy and Johannes Wamberg carry both Part I and Part II as a flowing conversation, speaking through sound rather than words.

Part I begins abruptly, almost throwing the listener back in time to the exact moment the improvisation was born. Jonathan Bremer steps to the forefront, providing a solid, melodic bassline as Kristoffer and Eliel, perfectly in sync, lay down a steady foundation for whichever voice chooses to rise above the rhythm.

This is also one of the few I Am An Instrument recordings to feature two guitarists. Johannes Wamberg leads the way, shaping the harmonic direction, while Steven Jess Borth II adds subtle rhythmic textures through muted palm work, deepening the groove without ever stepping into the foreground.

Part II unfolds with Morten McCoy on his Moog One, delivering a beautiful, expansive solo. Using a carefully chosen patch, the sound pulses through the rhythm, moving with the groove rather than above it, riding the beat like a wave through the ocean.
Shaped by trust, presence, and collective improvisation, Volume II captures a group deeply attuned to one another, allowing intuition and momentum to guide the unfolding form.
——
Volume III was recorded in Copenhagen on March 5, 2020. Little did anyone know that only days later, the world would be placed on pause for years. Captured just before that moment of global stillness, this session carries a heightened sense of presence, a final gathering before silence reshaped everything. Recorded in a space more commonly associated with a club atmosphere, the music draws on a different kind of energy and immediacy. With Eliel Lazo unable to attend, the group invited Victor Dybbroe of Girls In Airports to join on percussion, subtly reshaping the ensemble while preserving its core spirit. Part I opens with Steven Jess Borth II calling out on tenor saxophone, answered by Morten McCoy on Wurlitzer electric piano. The piece gradually unfolds into a meditative groove, patient and expansive, carrying the listener through an eight-minute journey of layered rhythm and restraint.

Part II begins with Jonathan Bremer on stand up bass, slowly joined by the rest of the ensemble as each voice enters with intention. Midway through, an unexpected vocal melody from Borth emerges, drenched in reverb and delay, later reappearing as a melodic line on the tenor saxophone.

Part III is led by Morten McCoy on Wurlitzer electric piano. His signature melodic language sets the direction, guiding the ensemble while leaving ample space for the music to breathe and evolve through collective improvisation. Reprise returns to the closing moments of Part II, its title reflecting its origin. The familiar groove reappears, transformed into a distinctly Jamaican-influenced rhythm, over which Borth delivers a final tenor saxophone solo, bringing the conversation to rest.

Any questions about any of these products feel free to get in touch and we'll help you out!

[a] a1. Part I [Vol.2]
[b] a2. Part II [Vol.2]
[c] a3. Part I [Vol.3]
[d] b1. Part II [Vol.3]
[e] b2. Part III [Vol.3]
[f] b3. Reprise [Vol.3]

Ever since the late 1950s bossa-nova revolution, Brazil’s influence on French music has been undeniable. Pierre Barouh, Georges Moustaki and a vast array of lesser known artists, all made the Musica Popular Brasileira (MPB) an axis of promotion at the service of a cool and metaphysical, modern and mixed Brazilian lifestyle. Some were seduced by the poetic languors of the bossa, some were looking for fun, and others just loved the American hybridization of jazz-bossa, jazz-samba.



What is bossa nova? One of its creators, Joao Gilberto said: "Its style, cadence, everything is samba. At the very start, we didn't call it bossa nova, we sang a little samba made up of a single note - Samba de uma nota so .... The discussion around the origins of bossa nova is therefore useless”. It is nevertheless useful to remember that these magnificent Brazilian songs, which the guitarist describes as samba, were shifted and balanced around improbable chords. "I like things that lean, the in-betweens that limp with grace," said Pierre Barrouh, quoting Jean Cocteau.



With emotion, arrangements for violin and supple guitar licks, bossa nova rapidly changed. A transformation that can be heard in the Tchic, tchic, French Bossa Nova 1963-1974 compilation, the result of a cultural reappropriation, which traveled through the United States and supplemented itself in France.

A musical revolution that has remained significant, bossa nova was born in Rio. From 1956 to 1961, Brazil lived through its golden years. In five years, the country had invented its modernist style. Elected president in 1956, Juscelino Kubitschek de Oliveira, an elegant man with a broad forehead, brandished a promising slogan: "Fifty years of progress in five years". He quickly got to work. Not worried about increasing debt, he launched the project for a new federal capital, Brasilia, designed by the communist architect Oscar Niemeyer. Volkswagen opened state-of-the-art factories and created the “fusquinha”, the Beetle. In Rio, the Vespa made its first appearance. The Arpoador Surf Club crew run into the “girl” from Ipanema, Helô Pinheiro - the tanned garota ("chick"), between a flower and mermaid, who at 17 walked by the Veloso bar, where the fiery author and composer, Tom Jobim and Vinicius de Moraes, were getting drunk on whiskey. From then on, bossa symbolized cool.

In 1958, Joao Gilberto recorded Chega de Saudade, which the directors of Philips denied, calling it "music for fagots". The marketing director, who believed in it, secretly pressed 3000 78-inch vinyls and distributed them at schools around Rio, creating a tidal wave.

American jazzmen then took over. In particular, trumpeter Dizzy Gillespie and guitarist Charlie Byrd. In November 1962, the Brazilian Ministry of Foreign Affairs funded a "Bossa-Nova" concert at Carnegie Hall in New York, inviting the genre’s pioneers. Unprepared, the show soon turned to disaster. But the troupe was invited to the White House by Jackie Kennedy. The first lady loved "the new beat" and in particular Maria Ninguem, a song by Carlos Lyra, later covered by Brigitte Bardot.

In Brazil, the 1964 military coup quickly ended this euphoria. The destructive atmosphere that ensued pushed many Brazilian musicians to leave, if not to exile. Thus, Tom Jobim, Sergio Mendes and Joao Gilberto arrived to the United States. In New York, Joao Gilberto met saxophonist Stan Getz. At the time, he was married to the Bahianese Astrud Weinert Gilberto, who had a German father. She had never sung before, but she knew how to speak English. Getz therefore asked her to replace her husband on The Girl From Ipanema. The Getz/Gilberto record with Tom Jobim on piano, was released in March 1964. Phil Ramone, the "pope of pop" was in charge of sound.

Bossa nova arrived in Paris through the classic “guitar-voice” channel (Pierre Barouh, Baden Powell, Moustaki…) But France loved jazz and Paris had already welcomed its American contributors. All these good people were to pass through Saint-Germain-des-Prés. The cabaret l'Escale became the Mecca of Latin American sound where one could find Pierre Barrouh and his friends, such as the Camara Trio, samba-jazz aces, whose only record was published by the Saravah label. With a band strangely called Les Masques (a band that included Nicole Croisille and Pierre Vassiliu, among others), the Camara Trio recorded an interesting Brazilian Sound, including the track Il faut tenir which is present on this tasty compilation of rarities.

Other enlightened musicians can also be found on the compilation, such as Jean-Pierre Sabar (songwriter for Hardy, Auffray, Leforestier ...) and the French pop rock organist Balthazar. In 1975, Sabar recorded Aurinkoinen Musiikkimatka on a Finnish label, which featured the crazy Vai, Vai, included on this record. We are now following the footsteps of Brazilian electronic musicians such as Sergio Mendes, Eumir Deodato or Marcos Valle who created funk and disco sounds on their keyboards and synthesizers. A style that influenced Véronique Sanson when she wrote Jusqu’à la Tombée de la nuit in 1969 for Isabelle de Funès, the niece of Louis and a great friend of Michel Berger - Sanson did end up singing this track on her 1992 Sans Regret record.


The pinnacle of exoticism and travel, Sylvia Fels’ Corto Maltese includes bongos, sea mist and ocean sounds. The title was taken from Jacky Chalard’s concept album written in 1974, Je suis vivant, mais j’ai peur (I am alive, but I am scared), based on Gilbert Deflez’s science fiction novel.


However, bossa nova extended the scope of popularity. "In the 1970s, I was a fan of Sergio Mendes, Getz / Gilberto. I fell in love with this music that I knew because I had been an orchestral singer, " explained Isabelle Aubret, who in 1971 delivered a composite record of covers by the very funky Jorge Ben, Orfeu Negro, Tom Jobim, Vinicius de Morais and Jean Ferrat. "I recorded this album for Meys Records in Paris, far from Brazil, with wonderful musicians, François Raubert, Roland Vincent, Alain Goraguer...". The latter wrote the arrangements for Casa Forte, a very percussive title borrowed from Edu Lobo, one of the initiators of the bossa who spent time in California. "Jazz and bossa came together and produced very rhythmic music. I love singing, it allows me to dream, to have fun, to feel a high on stage, and these songs brought me joy, made me swing, my singing felt like a dance.”


The world tours of French singers and their desire for the tropics, often brought them to Rio with its hills, forests, caipirinhas and tanned bodies. There are surprises though, like this Iemenja (Iemenja is the goddess of the sea in the Afro-Brazilian candomblé religion). Not unlike the composer and musician Jean-Pierre Lang, based in Sao Paulo, Claire Chevalier taught Brazil to Brazil. In 1970, the singer and painter published a 45-inch vinyl, Mon mari et mes amants (My husband and my lovers), under the improbable pseudonym of Clarinha (little Claire). She was then living in Rio, with her husband, Joël Leibovitz, who founded a band called Azimuth, and who owned a record label specialized in "sambas enredos" songs for samba school parades.


For its B side, she asked Pierre Perret to come up with lyrics for a song composed by Carlos Imperial: "Oh goddess of the sea, o goddess Iemenja, I bring a white rose to adorn your long hair ..." . "Perret came to see us, and we had fun, remembers Joël Leibovitz. We wrote Lemenja for fun, we recorded it at the Havaí studio, behind the Central do Brasil the central station. Erlon Chaves, the arranger who worked with Elis Regina, joined us" adding his share of Afro-Brazilian percussions and funky brass to the mix.

There is a common misunderstanding in Franco-Brazilian history: that bossa, admittedly hedonistic, is perceived as funny, even though the poets who wrote the texts are often philosophizing on the human condition. Its French interpreters pull it towards a carnival inspired universe, far removed from its fundamental essence. Thus, Jean Constantin covered the famous Samba da minha terra, an ode to the art of samba written by the classic Bahian composer Dorival Caymmi, renaming it with the enticing title of Pas tant de tchi tchi pompon: "On your pier there is no tchi tchi / when you arch your back, you know everything is alright ”(lyrics by Gérard Calvi). This expedited bossa aims for the absurd, but retains a certain elegance.

Indeed, Jean Constantin was not an idiot, the rather large man had a huge mustache and liked fantasy, (Les pantoufles à papa, Le pacha, inspired by cha-cha-cha-cha, salsa and jazz) but he was also the lyricist of Mon manège à moi interpreted by Edith Piaf, the composer of Mon Truc en plume by Zizi Jeanmaire and the soundtrack of François Truffaut’s 400 Blows. Le Poulpe, published in 1970, from which this bossa is extract, was arranged by Jean-Claude Vannier, an accomplice of Serge Gainsbourg’s Melody Nelson. In short: "There is enough of samba / By looking at the parasol / Because my poor cabeza / Is going to die in the sun".

Even the American actress Marpessa Down, who was at the heart of the bossa nova revolution with her role as Euridyce in Marcel Camus’ film Orfeu Negro, winner of the 1959 Cannes Palme d'or, fed the clichée with Je voudrais parler au petit cuica - "Tell me how you manage to always make people want to dance / It's true, I must admit that I cannot resist your magic" - in consequence, once can hear the cuica, a little drum inherited from the Bantu.


But bossa nova had many angles. Societal, of course, pushing actresses who were symbols of women's liberation like Brigitte Bardot, Jeanne Moreau, or Sophia Loren to engage in the exercise of accelerated bossa. In February of 1963, Sophia Loren made a record in French in Rome, Je ne t'aime plus, featuring the song De jour en jour, a bossa written by two Italians, Armando Trovajoli and Tino Fornai, which was released a little later by Barclay. Bossa accompanied the 1960s, a decade of moral liberation. Ann Sorel, who interpreted La Poupée des favellas, caused a sensation with L’amour à plusieurs, a provocative song written by Frédéric Bottom and Jean-Claude Vannier. As for the actress Andrea Parisy, she displayed her bourgeois cheekiness in Marcel Carné's Les Tricheurs before interpreting Les mains qui font du bien. And Magalie Noël, the friend of Boris Vian, who sung Johnny fais-moi mal, was hired to sing Une énorme Samba, composed by Alain Goraguer (arranger to Gainsbourg, Bobby Lapointe and Jean Ferrat) with lyrics by Frédéric Botton.

But in the end, of what wood is bossa nova made of? The answer is given by Christianne Legrand, daughter of Raymond the conductor, and sister to Michel the composer: "With me, with jà" - jà means "immediately" in Portuguese. In 1972, the singer, an expert in vocal jazz and a member of the Double Six, published Le Brésil de Christianne Legrand. Two songs included on the Tchic Tchic compilation that demonstrate how bossa, jazz, funk, rock, etc. work like a swiss army knife: the music is used to denounce broken systems, or miracles, HLM et ciné roman, Cent mille poissons dans ton filet, two songs from the O Cafona soundtrack, a successful telenovela broadcast, at the time in black and white, on TV Globo. The first was adapted in French by the fighter and friend of the Legrand tribe, Agnès Varda. The second is content with a play on words, jostling them into a summer fun.



Véronique Mortaigne

Following the critical success of last year’s ‘Cold Feet’ LP, producer, DJ, and multi-instrumentalist Alek Lee returns to Isle of Jura with his most introspective work to date, the ‘Blue Bird’ album. Across eight tracks, the Athens-based artist explores what he describes as a "Peculiar state of minds & Dub Orientated Feelings," blending his signature guerrilla style production with deep, organic soul.

The album’s centerpiece and title track, ‘Blue Bird’ features the haunting vocals of singer-songwriter Keren Ilan. It is a raw, heartfelt exploration of the aftermath of a breakup. The lyrics speak of a "desert heart" and a "loss that grows tall and loud," eventually finding a path toward healing as the "blue bird sings the dawn." Musically, the track is anchored by hazy, sun drenched guitars, a central instrument that weaves a consistent Balearic thread throughout the LP.

The journey through ‘Blue Bird’ is one of shifting shadows and unexpected textures. ‘Treasures’ is a standout instrumental, leaning into a grit-flecked, bluesy "twang" reminiscent of Duane Eddy, while ‘The Beach Road’ sees long time collaborator and ‘Shame On Us’ bandmate, Yovav, lending his magical bass and guitar work to a track that feels like a slow drive toward the horizon.

Side B shifts the energy toward the dancefloor and the sophisticated leftfield pop of the 80s. ‘First Rain’ is a subtle house leaning gem underpinned by a kick drum and lush, synth heavy emotive chord progression. ‘Thanks to Sade’ is a seductive downtempo groove with epic guitar lines shifting through, while ‘Remember the Good’ brings a subtle reggae skank and a French-influenced organ sound into the mix. The LP comes full circle with a smoked out Dub version of the title track ‘Blue Bird’.

A 180 gram pressing in a 3mm spine full colour sleeve and sticker designed by Bradley Pinkerton.

Distant Clouds Grey Vinyl. Das siebte Album von Teen Suicide ist das erste richtige Album der Band seit ,honeybee table at the butterfly feast", das durch Songs wie ,you were my star" wieder Aufmerksamkeit bekam, der auf TikTok richtig abging. Teen Suicide wurde 2010 als Nebenprojekt von Sam Ray gegründet und hat sich nach und nach weiterentwickelt, während es ein leidenschaftliches Projekt blieb. Seit 2017 gehört Kitty Ray zur Band, und 2022 wurde die Band mit dem Beitritt des Schlagzeugers Niko Wood offiziell zu einem Vollzeitprojekt. Gemeinsam begann das Trio mit dem Schreiben und Aufnehmen ihres kommenden Albums ,Nude descending staircase headless". Das Album stellt eine Reihe von Premieren für die Band dar: ihre erste Platte, die in einem professionellen Studio aufgenommen wurde, ihre erste Veröffentlichung, die als Vollzeitband geschrieben und aufgenommen wurde, und ihre erste seit 2012, auf der durchgehend ein festes Schlagzeuger zu hören ist. Es markiert auch den Beginn eines vollständig gemeinsamen Schreibprozesses zwischen Sam und Kitty Ray, die 2016 geheiratet haben und von Grund auf an der gesamten Platte mitgearbeitet haben, wobei sie sich sowohl das Songwriting als auch den Gesang aufteilten. Von Sam Ray als ,bisheriger Höhepunkt der Karriere" der Band beschrieben, erkundet Nude descending staircase headless das endlose Streben nach Erfüllung durch Kreativität und verknüpft Motive von Tod und Wiedergeburt mit Themen wie der Freude trotz großer Verluste. Das Album sieht das Selbst nicht als isoliertes Objekt, sondern als einen einzelnen Strang in einem größeren, miteinander verbundenen Netz. Zu den herausragenden Tracks gehören ,Idiot", das sich an direktem, wörtlichem Storytelling orientiert, und ,Spiders", bei dem Kitty Ray den Gesang übernimmt und eine düstere feministische Unterströmung in die übergeordnete Erzählung des Albums einbringt. Musikalisch lässt sich die Band von Künstlern wie Nirvana, Radiohead, Shellac und Helmet inspirieren und greift die Intensität und Experimentierfreudigkeit des Heavy Rock der späten 80er und 90er Jahre auf. Ihre jüngsten Tourneen mit DELTA SLEEP unterstreichen einmal mehr, dass Teen Suicide zunehmend Einflüsse aus Math Rock und Metal in ihren sich weiterentwickelnden Sound einfließen lässt.

Distant Clouds Grey Vinyl. Das siebte Album von Teen Suicide ist das erste richtige Album der Band seit ,honeybee table at the butterfly feast", das durch Songs wie ,you were my star" wieder Aufmerksamkeit bekam, der auf TikTok richtig abging. Teen Suicide wurde 2010 als Nebenprojekt von Sam Ray gegründet und hat sich nach und nach weiterentwickelt, während es ein leidenschaftliches Projekt blieb. Seit 2017 gehört Kitty Ray zur Band, und 2022 wurde die Band mit dem Beitritt des Schlagzeugers Niko Wood offiziell zu einem Vollzeitprojekt. Gemeinsam begann das Trio mit dem Schreiben und Aufnehmen ihres kommenden Albums ,Nude descending staircase headless". Das Album stellt eine Reihe von Premieren für die Band dar: ihre erste Platte, die in einem professionellen Studio aufgenommen wurde, ihre erste Veröffentlichung, die als Vollzeitband geschrieben und aufgenommen wurde, und ihre erste seit 2012, auf der durchgehend ein festes Schlagzeuger zu hören ist. Es markiert auch den Beginn eines vollständig gemeinsamen Schreibprozesses zwischen Sam und Kitty Ray, die 2016 geheiratet haben und von Grund auf an der gesamten Platte mitgearbeitet haben, wobei sie sich sowohl das Songwriting als auch den Gesang aufteilten. Von Sam Ray als ,bisheriger Höhepunkt der Karriere" der Band beschrieben, erkundet Nude descending staircase headless das endlose Streben nach Erfüllung durch Kreativität und verknüpft Motive von Tod und Wiedergeburt mit Themen wie der Freude trotz großer Verluste. Das Album sieht das Selbst nicht als isoliertes Objekt, sondern als einen einzelnen Strang in einem größeren, miteinander verbundenen Netz. Zu den herausragenden Tracks gehören ,Idiot", das sich an direktem, wörtlichem Storytelling orientiert, und ,Spiders", bei dem Kitty Ray den Gesang übernimmt und eine düstere feministische Unterströmung in die übergeordnete Erzählung des Albums einbringt. Musikalisch lässt sich die Band von Künstlern wie Nirvana, Radiohead, Shellac und Helmet inspirieren und greift die Intensität und Experimentierfreudigkeit des Heavy Rock der späten 80er und 90er Jahre auf. Ihre jüngsten Tourneen mit DELTA SLEEP unterstreichen einmal mehr, dass Teen Suicide zunehmend Einflüsse aus Math Rock und Metal in ihren sich weiterentwickelnden Sound einfließen lässt.

The Buddha Bar collection is the one of the most emblematic electronic compilation series with over several million copies sold over the years. Discover the 27th Buddha-Bar Compilation, Mixed by DJ Ravin. Immerse yourself in the captivating and unique world of Buddha-Bar with this new « haute couture » selection. This latest edition, masterfully mixed by the iconic DJ Ravin, takes listeners on a mesmerizing sonic journey, blending sophisticated electronic beats, worldwide sounds, and deep chill and house vibes. More than just an album, it’s an immersive experience perfect for setting the mood at any gathering or accompanying moments of pure relaxation. With a legacy of globally acclaimed compilations, the Buddha-Bar series has already captivated millions, creating a lifestyle phenomenon like no other. Available on March 28th, Buddha-Bar XXVII is a must-have for fans of lounge and electro music. Give your customers the chance to escape into this musical adventure

For the first time ever, Roxette release ‘Baladas En Español’ on vinyl. The relationship between Roxette and Spanish-speaking audiences has been a love story since the early ‘90s and this release celebrates that special relationship. The release is timed with Roxette’s 40th anniversary and their return to South America for live shows in April. The album will be available on vinyl and CD, featuring 4 bonus tracks compared to the original release. The vinyl will be released in both a limited coloured edition and standard black.

Roxette have some exciting plans to celebrate their 40th Anniversary this year, including extensive touring, further anniversary re-releases, video upgrades, contemporary remixes and much more!

Repress of the 1 st album of the fresh Afro funk sensation ! Recorded on analog equipment in Lyon in 2014 !



Peter Solo is a singer and composer born in Aného-Glidji, Togo, the birthplace of the Guin tribe and a major site of the Voodoo culture. He was raised with this tradition’s values of respect for all forms of life and the environment. With his new band, Vaudou Game, Peter Solo claims, and spreads this spiritual and musical heritage. Chants are at the heart of the Voodoo practice, but for times immemorial, harmonic instruments have never accompanied them. No balafon, no kora - only the “skins” support the singers. However, in 2012, Peter, along with his band based in Lyon, France, decided to explore and codify the musical scales that are found in sacred or profane songs of Beninese and Togolese Voodoo so they can be played easily on modern instruments. Peter composed the album Apiafo, using the two main musical scales of this tradition. The first musical scale on Apiafo leans towards raw Funk with a sound similar to the famous 70’s bands, L’Orchestre Poly Rythmo De Cotonou and El Rego. Funk, is the skeletal structure of this record, and provided the opportunity for Peter to invite his uncle, Roger Damawuzan - the famous pioneer of the 70s Soul scene - on two tracks. Their collaboration on “Pas Contente” is a highlight on this 100% analog album. Apiafo was entirely recorded, mixed and mastered with old tapes and vintage instruments. The second scale, which had never before been transposed for instruments, evokes deeper feelings and a sacred ambiance. The moving song Ata, an invocation to a supreme divinity is another highlight of this record. Even if some can recognize similarities between this scale and Ethiopian scales, they are in fact different. Peter, the only African band member, introduced the other musicians to the universal values of Voodoo and he taught them his native language. On the recording of Apiafo and during their live performances, the musicians all sing and answer Peter in the Mina language. The strive for authenticity, the analog sound and vintage looks don’t mean that Vaudou Game is looking backwards. This is Togolese funk, born in the post-colonial era but that never before explored its ancient roots so deeply and proudly.



Antoine RAJON

Los Felcas were one of the best bands to come out of Peru during the golden years of the cumbia and tropical sounds explosion. This compilation brings together their finest recordings, taking from albums and obscure 45s, blending a wide range of influences-from psychedelic vibes to rhythms closer to guaracha and chicha-and now being reissued for the first time. In Lima, founding member, guitarist Florentino "Tino" León, quickly joined the Peruvian cumbia tropical movement led by electric guitarists Enrique Delgado (Los Destellos) and Berardo Hernández "Manzanita". This new style was soon practiced by other groups from Lima, such as Los Ecos, Los Beta 5, Los Diablos Rojos, and, a bit later, by bands from the rest of the country. This movement became a massive phenomenon. Nelson Ferreyra and the multifaceted singer Pablo Villanueva Branda "Melcochita", who had become fans, introduced them to the MAG record label. In mid-1973, they recorded their first 45 RPM singles, with 'Sabor a Felcas' being their most popular release. They recorded several albums during the late 70s and 80s, mostly on MAG: "La Blanquiñosa", "Tu bello cuerpo", "La cusqueñita" y "Manzanita coloradita". In the early 1990s, chicha music became popular in Argentina, especially in the north, where 'Boquita perfumada' by Los Felcas was a hit.

It is with some degree of surpriseand delight that we were contacted by John Andrew Fredrick, the founder and omnipresent member of Santa Barbara’s the black watch to see if Blue Matter would be interested in putting out their newest album. Of course we were. One listen was more than enough to convince us that it would fit perfectly on to the label. Perhaps a little more indie than other albums we’ve released, but sowhat? ‘Varied Superstitions’ is an intriguing collision of Cure-style indie and trippy psych which had us buzzing right away. the black watch (lower case intentional) wasformed in 1987 by John Andrew Fredrick in Santa Barbara, California, and he has been (and still is) it’s guiding light. They have released 25 albums over the last 38 years and show no sign of ageing. With a fantastic band behind him, John has presented us with a wonderful batch of songs ranging from mesmeric psych to indie/punk. In late 2025 John paid a brief visit to the UK to see friends and also to do a couple of live acoustic performances. The Bevis Frond was lucky enough to share the bill with John at London’s Betsey Trotwood for a wonderful evening of acoustic revelry. Not only is he a hugely talented musician/songsmith, but a thoroughly decent fellow. It’s a true privilege to be able to put out ‘Varied Superstitions’ on our label.

Until We Are Free is the debut album from fabric, a collective of musicians from diverse backgrounds united by a shared goal: to fuse irresistible rhythms and grooves with a direct, socially conscious message that draws vital attention to the contradictions of modern life. The project's name itself evokes the idea of a living, dynamic ensemble—a creative intertwining of different threads, from musical genres to founding musicians and guest collaborators, all actively woven into the social fabric.

The record blends funk, soul, and Afrobeat with a sharp, contemporary urban attitude, resulting in a sound that functions simultaneously as sonic resistance and an invitation to the dancefloor.

It finds its place in a lineage that runs from Fela Kuti and ESG to The Comet Is Coming, Sault and Jungle.

At its core is the conviction that music and civic engagement can coexist seamlessly without being didactic. While the lyrics—entirely in English—tackle themes of rights, equality, and freedom, the groove remains the heartbeat: constant, pulsing, and relentless.

Mixed by Tom Campbell (whose credits include Sault, Little Simz, Adele, Michael Kiwanuka, and Jungle) and featuring art direction by Raissa Pardini, Until We Are Free is a soundtrack for complex times. It is an invitation to refuse neutrality and isolation, and to imagine—together—new possibilities for movement, resistance, and the future.

fabric's singles "Taste This Sound" and "Fight!" have been featured in FIP's Spotify Playlists "FIP Radio (en live)" and KEXP's "New This Week" and "KEXP Rotation".

BLUE & WHITE COLOUR IN COLOUR VINYL

In the culinary arts, it’s easy to overcomplicate the final product. Theme, presentation, texture…they’re important but should work to complement the raison d'etre of any food. At the end of cooking a dish, it should taste good and feed people. Some dishes, like barbeque or provoleta, resist the tendency towards hollow showmanship. One of their expressions can be more or less aesthetic, but the first purpose is to be simple and tasteful. Argentinian provoleta goes so far as to blur the line between ingredient and dish. It relies on the inherent flavor of provolone being heated at the right speed for the perfect amount of time. You can add garlic or chives or red pepper to the slice, but ultimately they serve to bring out an essence that’s already there.

Los Angeles’ Cousin Feo has developed his rapping acumen in the five years since releasing Provoleta, but returning to the project today shows that he always had the penmanship, grit and delivery that christens an emcee worthy of remembrance. Like the bubbles rising up in the appetizer that is the album’s namesake, Feo showed that true profundity is found in the simple gestures.

Since dropping the project in 2019, Cousin Feo has expanded his vision of a world where hip-hop and football, two proletarian art forms, mingle in creative and compelling ways. He has collaborated across multiple continents, chronicled football histories, aided in canonizing legends, kept the flames high in age-old rivalries and constantly forced his audience to search for the last time they heard bars this hard. In anyone else’s hands it would be too great a task.

The maturity he showed on Provoleta wasn’t nascent, it was an inherent quality forcing itself to the surface. The songs refract his experience as a working class Angeleno through the archetypes of Argentinian football legends. The kernel that unites the two worlds is hustle. When Feo was coming up, missteps had greater consequences than crashing out in the group stage and street deals had the weight of a Boca-River Plate match.

Each track uses slightly different ingredients to let Feo’s underlying talent shine. “Maradona” feels salvific, fitting for a football legend canonized from the Andes to the Alps and a Los Angeles rapper looking to inspire similar hope in the neighborhoods that raised him. On “Di Stefano” Feo massages the instrumental with the same composure of the late forward, until he pierces through the headphones like one of Di Stefano’s arrows. It’s also refreshing to hear a song celebrating Messi before his meme-ification, focusing on the universal truths contained in his footballing talent instead of using number 10 as a stand-in to make a point in a fruitless argument. And he still finds space to show deference to Batistuta, Kempes and other members of the Argentinian pantheon who’ve been erased from the popular imagination by the national team's contemporary success.

Real ones know that true players, true rappers, and true artists will always stand the attacks of time and consensus. In Provoleta’s first verse, Cousin Feo says he moves with the hand of God. Maybe one day he’ll tell the whole truth and let us know how he was able to wrestle the pen away too. Limited edition of 300 hand-numbered copies.

To commemorate the 40th Anniversary of the passing of James Darroch, singer/songwriter/guitarist for Sydney's incredible The Eastern Dark, Grown Up Wrong! is thrilled to announce a long-awaited reissue of the band's classic single "Julie Is A Junkie/Johnny and Dee Dee".

Heavily influenced by the Ramones - the band opened their first live show with 'Blitzkrieg Bop' and from then on opened with a new Ramones song every time they played, working through the band's complete catalogue in chronological order - as all manner of hyper-melodic and high energy rock. The Eastern Dark were a classic trio powered by former Celibate Rifles bassplayer James Darroch's blazing guitar and anchored by former Lime Spiders backing vocalist Bill Gibson's hard driving and melodic bass playing (and supreme backing vocals) and Geoff Milne's untouchable beat keeping. They set Sydney's Radio Birdman influenced scene alight in 1984 and quickly built an international following on the back of their classic single. Sadly, just hours after completing what would become their next release - the mini-LP "Long Live the New Flesh" - the band's life, and that of 26-year old James Darroch, was brutally ended in a road accident whilst the band was on its way to Melbourne.

On the back of the tragedy, the band's music lived on and it's global impact was reflected in the influence it bore on numerous bands, from Boston's the Lemoneads to Tokyo's Teengenenete, and obviously a succession of Australian bands from the Hard-Ons through to God and the Meanies and beyond.

After years of searching, surviving members Bill Gibson and Geoff Milne recently found the single's original multi-track tapes, and for the new release, the original recordings have been both remixed and remastered for maximum impact under their supervision.

Im April 2026 bringt Eaves Wilder ihr heiß erwartetes Debütalbum ,Little Miss Sunshine" raus. Die Platte ist ein krasser Entwicklungssprung für die Singer-Songwriterin aus Nord-London, die 2020 mit 16 Jahren mit ihrem selbst aufgenommenen Lockdown-Release ,Won't You Be Happy" zum ersten Mal auf sich aufmerksam gemacht hat. Eaves begann mit der Arbeit an ,Little Miss Sunshine" nach einer Phase des Nachdenkens, in der sie sich fragte, ob sie der Musik in ihrem Kopf letztlich gerecht werden könnte. Wer sich mit dem Album beschäftigt, entdeckt zehn Songs, die sich an den Zyklen der Natur orientieren, um die emotionalen Stimmungen zu erklären und zu feiern, die uns zu Menschen machen. ,Als ich am Boden war", erinnert sich Eaves, die an einer Stelle sogar lacht, als sie sich daran erinnert, wie sie beschloss, die Musik ganz aufzugeben, um in ein Kloster einzutreten: ,Ich wollte einfach nur unmenschlich, gefühllos und unbewegt sein. Wie ein Berg oder ein Baum. Oder der Himmel. Das sind alles Dinge, die einen Zweck haben, aber ich wusste nicht, was mein Zweck war. Und so musste ich es herausfinden, Song für Song." Auf Little Miss Sunshine wird diese Geschichte in spannenden Episoden erzählt, angefangen mit den ersten Sekunden des Albums und der Lead-Single Hurricane Girl, einer sensationellen Synergie aus durchscheinenden Shoegaze-Harmonien und elementaren Rockgitarren, inspiriert durch Dokumentarfilme über Sturmjäger, wobei die Metapher verwendet wird, um ein Licht auf Freunde zu werfen, die gezwungen waren, stürmische Beziehungen zu suchen. ,Ich habe das Gefühl, dass dies mein Pearl-Jam-Song ist", erklärt sie. ,Das erste Mal, als ich Pearl Jam hörte, war ich auf einem riesigen Berg in Wales. In derselben Woche hörte ich auch zum ersten Mal Jagged Little Pill von Alanis Morissette." Von hier aus, bis hin zu seinem schmerzlich bewegenden Requiem an die Kindheit Summer Rolls fungiert jeder Song auf Little Miss Sunshine als leuchtender Koordinatenpunkt in einem Bogen der Selbstfindung. Da ist der hochfliegende Klangrausch Everybody Talks, mit seinem ansteigenden Crescendo aus aufdringlichen Stimmen, der auf beiden Seiten des Atlantiks große Unterstützung im Radio fand. Für Mountain Sized bezog sie sich auf Lily Allens Single The Fear aus dem Jahr 2009 - ,weil da diese eine Frau ist, die ganz beiläufig all die schlimmsten Dinge über sich selbst aufzählt, Dinge, die man sich eigentlich nicht trauen würde zuzugeben". In Eaves' Song wird diese aufkommende Angst jedoch durch einen panoramischen Refrain ausgelöscht, in dem sie die Grenzen ihrer realen Welt durchbricht, um zu verkünden: ,But in my mind/But in my mind/I am taller than the highest mountain sides." In dem schmerzlich melodiösen ,The Great Plains" hinterfragt Eaves ihre frühesten Erinnerungen, in denen sie ihre ältere Schwester Dora vergötterte. ,Sie war so zurückhaltend und wie eine Meerjungfrau", erinnert sich Eaves, ,und ich wurde von meinen Emotionen beherrscht - und je mehr ich versuchte, das nicht zu sein, desto mehr wurde mir klar, dass ich niemals wie sie sein könnte." In dem Song findet Eaves eine Art Selbstakzeptanz, indem sie auf die Natur schaut, um zu erfahren, dass es okay ist, so zu sein, wie sie ist: "As I erupt into a blaze / It's ok the sky will do the same/Let no-one bat an eye when / Every year I'll hibernate till May / Because no-one blames the clouds for rain / So take me as I am, tears down my face." Als die Sessions an Fahrt gewannen, fand Eaves Inspiration in zeitgenössischen Veröffentlichungen. Beispiele dafür waren Wolf Alice (,die einzige Band, die die Balance gefunden hat, die ich immer suche - die Kombination aus schweren Gitarren und hohen, ätherischen Vocals"), Mannequin Pussy (,sie gaben mir etwas von dem, was ich in der Ära von Riot Grrrl vermisst habe, als L7 und Babes In Toyland auf Tour waren") und CMATs ,geradlinig brillantes Songwriting". Weitere Highlights auf einem Album, das von ihnen geprägt ist, sind Daisy Chain Reaction, dessen glitzernder Power-Pop-Glanz einen Text über die Kultur des Wettbewerbs rund um Essstörungen verbirgt, und der unangenehme, mechanisierte Angriff von Just Say No, ein Song, der auf den brutalen Wahrheiten basiert, die Eaves und ihre Freundinnen in ihren Auseinandersetzungen mit missbräuchlichen Männern gesammelt haben. Zwei Jahre lang hat Eaves unermüdlich daran gearbeitet, jeden einzelnen Vers, Refrain, Pre-Chorus und Middle Eight auf Little Miss Sunshine zu verfeinern, bevor sie mit dem Co-Produzenten des Albums, Andy Savours (My Bloody Valentine, The Killers, The Horrors), ins Studio ging. Dies ist ein Album, auf dem jedes einzelne Detail seinen Platz verdient hat und das Zeugnis ablegt von der einzigartigen musikalischen Vision seiner Schöpferin.

Petter Eldh's explosive ensemble Koma Saxo continues their adventures with a new album "Koma West", out on We Jazz Records, 18 March 2022. The album sees Koma Saxo expand on their previous sound with the addition of vocalist Sofia Jernberg and a strong cast of featured artists, including cellist Lucy Railton, violinist Maria Reich, pianist Kit Downes and accordionist Kiki Eldh (Petter's mom!). The hard-hitting key quintet remains, including Eldh on bass and assorted instruments, Christian Lillinger on drums, plus saxophonists Otis Sandsjö (of Y-OTIS), Jonas Kullhammar and Mikko Innanen bringing the SAXO to the KOMA operation.

At 14 tracks, "Koma West" is a full menu of monumental compositional ideas that could spawn entire albums. True to his chop & go production style, Eldh relies on continuous movement while presenting another all killer no filler program taking Koma Saxo on a sonic outing not quite like anything that had previously appeared under the band's name. That being said, there's very much the Petter Eldh touch here, one which might be hard to pinpoint and verbalise, but nevertheless a recognisable style of composing, producing and arranging.

Thematically, the album is rooted in the West Coast of Sweden, where Eldh grew up – he's from a tiny town called Lysekil. There's a thread of Swedish folk song tradition that has been part of the Koma Saxo DNA from the get-go and you can hear that here as well, especially on cuts such as "Närhet", beautifully sung by Sofia Jernberg.

Petter Eldh says:

"In a way, it's a concept album and a celebration of the Swedish West Coast. The first single is called 'Koma Kaprifol', and kaprifol is the landscape flower of Bohuslän on the West coast, where I grew up. I'm not too wild about attaching strong narratives to my music but there's no way around it this time. The oysters, a common snack around the coast, are a strong conceptual presence here. Anyway, they seem to pop up here and there quite often already thus far in the Koma Saxo narrative, even though it's not always so obvious. Koma Vocals! Koma Strings! I love the presence of Sofia Jernberg here and I love writing string arrangements, too, although I never thought I would do it for Koma, but of course, Koma should have some strings, why not?. Koma Saxo should and can become anything."